In Billy Wilder’s excellent 1951 drama Ace in the Hole, which is a classic showcase of media manipulation, ambitious city-slicker reporter Chuck Tatum (played by an enthusiastic Kirk Douglas) finds himself stuck in Albuquerque, New Mexico with hopes to find that one big story that will jettison him to the big-leagues again. Tatum lucks out when he is informed about a man trapped in a cave-in and uses this opportunity to break big. When Tatum’s photographer asks why this will make a big story, Tatum responds that it’s a “human interest” subject and that if you can get readers to sympathize with the narrative then you have the reader’s attention. But, he also elaborates that a human interest story has to focus on one person; if you focus on others involved with the story,
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